This dissertation deals with the representations of the act of inscribing in Samuel Beckett’s short story Premier Amour with a particular focus on two specific inscriptions – namely firstly, the funeral (the epitaph the narrator composes for himself after his father’s death) and secondly, the beloved (the name he inscribes once he “falls in love”). By looking at these, the dissertation investigates the notions of both reading and writing. The dissertation is divided into two chapters: the first, which looks at the inscription as something visible and legible; and the second, which focuses on inscribing as an act which has a legacy. By using and comparing these two approaches, this dissertation demonstrates how Premier Amour can be seen as a first step towards a general comprehension of a written “literary legacy”. Specifically, the dissertation shows the linguistic construction of the conceptual interlacing of the inscriptions and the legacy it conveys and presupposes, as this interlacing is inherent to our understanding of the literary and the human world. By means of a conclusion, this dissertation considers the conflicting relationship between, on the one hand, the contemporaneousness which dreams of a world without inscription, and on the other hand, the inevitability of inscription.